Der Kopf ist rund exhibition installation view

Klaus in Vorarlberg / 2026

Der Kopf ist rund, damit das Denken die Richtung wechseln kann

Galerie Brugger

May 22 — June 01, 2026

Axial-Core

Leo Pum @La Térmica, Málaga KRVCE festival

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Santiago / 2026

RAMA TORCIDA

MAC — Museo de Arte Contemporáneo

Features

/ 2026

BUNNY BUNKER NO.1

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FIGHT OR FLIGHT: SEX

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TECHNO WORLDS — FINAL SAMPLING

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WHAT WE SEE, WHAT LOOKS BACK AT US

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IMPOTENZA

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Triangle reshapes the O of my mouth exhibition view

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TRIANGLE RESHAPES THE O OF MY MOUTH

Sperling

Lima / 2026

YOU CAN'T STOP THE WORLD FROM BEING BAD

Galería Gato

KIM MYUNGCHAN

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NIKE, TA MÈRE (WILL FALL ON YOU)

ENSAPC / CROUS Paris

Istanbul / 2026

ROOTKIT

BENTA

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DON'T TRUST THE RABBIT

SSK Düsseldorf

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METEMPSYCHOSIS

MO.CO. Montpellier Contemporain

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LOVE

Zaazrak|Dornych

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THE STAGES OF GRIEF

PADA Studios

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EXTERNAL CRYOGENICS

Hyperlink Athens

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CONTEMPT

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EMMA BEATREZ

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DEEP SEA FISH

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THE NEOLIBERAL URGE TO CURATE A FRIENDSGROUP

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SWEET GARDEN OF VANISHED PLEASURES

dieAngewandte

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VITALS VAPORS

Kunstverein Arnsberg

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DIE SPRACHE DER VÖGEL

Westwerk Hamburg

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WITH FEATHERS AND FLESH

Holešovická Šachta

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THE LANGUAGE OF THE ENEMY

Artsonje Center

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THE SIGNAL. THE NOICE

Greatorex Street E1

NATHAN CARÊME

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CALL ME WE

SUPERRAUM

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47°24’35’’N / 9°44’20’’E

Kunstraum Dornbirn

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LULLABY BLOSSOMS

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CHEWING GUM IN THE MOTHERBOARD

La Volonte 93

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PULSES WITHIN

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THIRD SKIN

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SUBSURFACE

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ANCIENT GIRL STARTER PACK

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FLOOD

Messums West

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THE ROOM IS EMPTY, BUT PREGNANT

Capsule Shanghai

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AXIAL-CORE

La Térmica (KRVCE festival)

Ciudad de México / 2026

TÁNTALO

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Klaus in Vorarlberg / 2026

DER KOPF IST RUND, DAMIT DAS DENKEN DIE RICHTUNG WECHSELN KANN

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KOESY

@koesysaga

Turin / 2026

OLD SNAG

Société Interludio

Mexico City / 2026

AXES

Alvarez Chida

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STIAN EIDE KLUGE AT ROTHHAUS, KUNSTNERNES HUS, OSLO

Kunstnernes Hus (Rothaus)

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ACTUALIZATION MACHINE

Silke Lindner

PROFUSION ANTAGONIST WISHLIST exhibition view

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PROFUSION ANTAGONIST WISHLIST

PAW

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WHEN DOORS CLOSE, WALLS RISE

Jak Zapomnieć Gallery

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A BLADE UNHELD

Galerie Dengyun

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WORK OF PROOF

FLⒶT$

YIHAN PAN

@pyhii

Tartu / 2024

ENTER WOODLAND SPIRITS

Estonian Literary Museum and the University of Tartu Natural History Museum

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TOTAL INTERNAL REFLECTION

Zerui G

Stockholm / 2024-2025

DIALECTS OF THE DEEP

Bonniers Konsthall

Innsbruck / 2025

TIPPING POINT PHANTOMS

Künstlerinnenvereinigung Tirol

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TISSU EXPANSÉ

Europa NYC

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LUCA

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THE LAST DRAWER ON THE LEFT

Przeciag Galeria

Busan / 2025

AFTERLIFES

Hongti Artcenter

YEON GYEONG-SEOK

@camelostrich

Munich / 2026

MOTIONS TO UNFURL

Gallery Thetigerroom

Berlin / 2026

COMMON LANDSCAPE(S) (GROUP SHOW)

ACUD Galerie

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MAIN DE FER, GANT DE VELOURS

Association NOEMI — Espace Brownstone

Kraków / 2026

THE SHAPE OF A SCAR

Bonifraterska 3/1

Nurnberg / 2026

LIMINALITY

Adbk Nuernberg

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT exhibition view

New York City / 2026

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT

Management NYC

/ 2025

SWEET WORLD 1

Sweet World Gallery

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DESIRING MACHINES

RÍO & MEÑAKA

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MOUTH

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A FLOWER IS GROWING INSIDE ME

Piktogram

Avigliana / 2026

I SEE YOU FALLING IN MY DEN

Una Boccata d'Arte 2026

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CALL ME GRAVITY

WIELS Contemporary Art Centre

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AFTER THE OFFERINGS

inter.pblc

ISABELLE ALBUQUERQUE

@isabellealbuquerque

Angers / 2026

THE STASIS GARDEN (OR PIXIES MEMORIES)

Ville d'Angers (Château d'Angers)

Genk / 2026

JOY RIDE

Jester

Kraków / 2026

PASSENGER

Szaber Gallery, Kraków, Poland

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TERRITORIES OF EXTRACTION

Arka Arka

Poznań / 2026

TANGLED IN SHADOWS FROM AN OLD DRAWER

Łęctwo

Warsaw / 2026

HAUS DER LÜGE

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Tokyo / 2026

THE BEAUTIFUL REMAINS

Kohtoh

Edges that blur, bodies that fold into something other exhibition view

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EDGES THAT BLUR, BODIES THAT FOLD INTO SOMETHING OTHER

ACUD

00 ZHANG

@aio0o0o0

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KASSANDRA

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METEMPSYCHOSIS: THE PASSION OF PNEUMATICS

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KETEROS

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EUTROPHY

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FARM

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DOWN THE RABBIT HOLE, 2024

Halle Nord Geneve

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DISTANT, ENDLESS HUM

Vunugallery

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ENCUENTRO

Sagradamercancia

DORIS SALCEDO

#DorisSalcedo

FANTASY VANISHES IN FLESH exhibition view

Milan / 2025

FANTASY VANISHES IN FLESH

Francesca Minini

Berlin / 2025

WEAVING BACK TO COMMON GROUNDS

ACUD Galerie

Dornbirn / 2026

BUCOLICA

Kunstraumdornbirn

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GROWING BODY

Studiya Gallery

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MASSAGE PLATZ

Shower

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PARACHUTE

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MIMICKING ETERNITY

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CALL SOMEONE

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TAEWON AHN

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THE JEWEL BOX

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FROM AN UPCOMING SERIES

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BETWEEN REALITY AND THE VIRTUAL

DEW KIM

@dew_needs_you

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TANGERINE REVERIE

Bangdo

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NYMPHENBRUNNEN

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24 PRELUDES, OP. 34: NO. 22 IN G MINOR (ADAGIO)

Studiya Gallery

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FAULT LINES

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Everything comes together while pushing all apart exhibition view

Vienna / 2026

EVERYTHING COMES TOGETHER WHILE PUSHING ALL APART

Reaktor Wien

WHO COMPOSES THE SONG OF THE CRICKETS? exhibition view

Paris / 2026

WHO COMPOSES THE SONG OF THE CRICKETS?

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Munich / 2026

DOUBLE STAR

nouveaux deuxdeux

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DISLOCATION

Arsmonitor

ANNA UDDENBERG

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New York City (NY) / 2025

EXUVIAE

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TOMORROW'S FORECAST, WHITE CLOUDS GREY DOGS

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BIDIM BLO!

Basisfrankfurt

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A CERTAIN INSTANCE OF VERRITION

Leal Rios Foundation

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SKELETAL SCENES

Ani Molnár Gallery

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PETRICHOR

Prám

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FALENE

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Ljubljana / 2025

TAR STAR

Cukrarna Art

JACOPO PAGIN

@pax_aliena

/ 2025

THE ROOM I

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BEGONE ESTRONE

Medium Gallery

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CRASH PÆNDEMONIA

Jak Zapomniec

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MYTHS FROM SMOLDERING SKIES

Limbo Contemporary

DOUBLED PRESENCE IN A DISEMBODIED SPACE exhibition view

Graz / 2026

DOUBLED PRESENCE IN A DISEMBODIED SPACE

Trost Spc

Prague / 2026

SOFT_SIGHS SYNTHESIS

Clauda Cz

London / 2026

EVEN SPECTRES CAN TIRE

Xxijra Hii

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COAGVLA

Acéfala Galería

QUE.FRESCA

@que.fresca

Berlin-Schöneberg / 2025

PRESENCE BY PROXY

Schutzenverein

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PARADISE ROT

Galeria Arsenal

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NEXUS, OPEN STUDIO

Cité internationale des arts

XOLO CUINTLE

@xolo_cuintle

Olomouc / 2026

SIGNAL V

Telegraph Gallery

Prague / 2026

ROT SUMMER

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Ethereal Robes of Vulnerability exhibition view

Vilnius District Municipality / 2026

ETHEREAL ROBES OF VULNERABILITY

Aikas Žado Laboratory (Žeimiai Manor House)

Słupsk / 2026

A GENTLE KISS ON A DOUBLE FOREHEAD

BGSW / Baszta

Poznań / 2026

WE ARE DEEPLY ALARMED AND EXPRESS OUR GRAVE CONCERN

DOMIE

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MAKE ME YOURS

Łęctwo

Brussels / 2026

FIRST DATE

Lodovico Corsini

Berlin / 2026

CAGED MOVEMENTS

NADAN Berlin

YUKINO YAMANAKA

@yukino_yamanaka

Ljubljana / 2026

ACCOMPLICE

Cukrarna

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GRASS ON ROADSIDE 4

Przeciąg Gallery

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CHOICE DIRT

Xxijra Hii

Incommunicability is itself a source of pleasures exhibition view

Brescia / 2025-2026

INCOMMUNICABILITY IS ITSELF A SOURCE OF PLEASURES

The Address

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TRANSPARENCY REPORT

/ 2023

THE WORM AT THE CORE

SET

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HUMAN IS

Schinkel Pavillion

London / 2024

LIMO

The Split Gallery

SOPHIA GATZKAN

@s_gatzkan

LUNAR ENSEMBLE FOR UPRISING SEAS exhibition view

Barcelona / 2024-2025

LUNAR ENSEMBLE FOR UPRISING SEAS

Macba Barcelona

Milan / 2025

METAL MEMORY

Limbo Contemporary

Berlin / 2025

GREEN GROWTH

Kuenstlerhaus Bethanien

Århus / 2025

JUST ABOUT AND NEVER

SpLab

Paris / 2025

PARADE

Romeropaprocki

Berlin / 2025

THRESHOLDS

Carlier | Gebauer

Seoul / 2026

THE COLLAPSE MANUAL_THE POST-HUMAN FIELD (GROUP SHOW)

Aod Museum

Leipzig / 2026

MOONLIT BOTANICAL COLOUR THEORIES

Jochen Hempel

ARGHAVAN KHOSRAVI

@arghavan_khosravi

Vorarlberg / 2026

SUPPORTED FILES

Galerie Brugger

Sardinia / 2026

BLUE BLOODED

Museo Nivola

/ 2025

LOST ENCOUNTERS, THEY CLING

PARALLEL VIENNA

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TACTICS FOR AN ERA (GROUP SHOW)

K&L Museum

KLAUS IN VORARLBERG, AUSTRIA / 2026

DER KOPF IST RUND, DAMIT DAS DENKEN DIE RICHTUNG WECHSELN KANN

Galerie Brugger / Barbara Wolff and Katharina Stöver

When our eyes grasp the past through residual images, history may, at first glance, appear as a linear, steady accumulation of forms, images, and ideas over time. Yet history often reveals itself through deferred actions (Nachträglichkeit), retroactive interpretations of virtual potentialities folded within the physical sediments of the past. Aside from preserving what has been, history (woven into the fabric of matter) invites us to construct meanings from what is embedded within its structure. However, it is the semantic opacity of matter, together with the differences among individual acts of reception – shaped by changing collective worldviews – that leads to the continual re-creation of the meanings associated with forms and ideas. Meaning is never fully present; concepts have no existence separate from the process that brings them into being: that is, the act of engaging with the image.

Peles Duo's exhibition engages with a chain of visual representations of myths, symbols, and ideas as they appeared on their shifting trajectories throughout history. Take, for instance, the echoes of the goddess Cybele, woven throughout several works here. Heavy sculptures resting on metal pallets make various references to her shifting appropriations across cultural spaces. Residual images of the past – from the story of her mythical hermaphroditic origin to divergent interpretations of her iconographical features – are repeatedly revisited by the artists, guided by the Deleuzian principle of "unlimited finitude." As for the meanings of these motifs, they came to be interpreted as deferred actions referring to the ritual sacrifices of Cybele's eunuch priests, eclipsing earlier associations of the pomegranate with femininity in the ancient world. Overall, one finds oneself immersed in a semantic density, a surreal collision of symbols and myths that have been expressed through the images. This is precisely how the artists question our perception of history (or herstory, to be more precise), gently demonstrating how female power and trans communities already occupied an important place in the imagination of past societies.

The interplay of quoted iconography recurs in the present paintings. The echo of the sculptural form of our mother goddess is embedded within a network of visual references to other historical figures. Here, you may catch the eyes of Saint Ottilia; a motif commonly read as a reference to Ottilia's miraculous recovery of sight. Or maybe you will engage with Ciamberlano's engraving depicting human emotions, while wondering if the signifier (e.g., the image of a scream) is truly a fingerprint of a particular emotion. As we already know, the connection between the two sides of the sign (signifier and signified) is always somewhat arbitrary. Moreover, as Lisa Feldman Barrett suggests, emotions are merely constructed perceptions created by the brain of the viewer; with face-reading being just the brain's best guess, conditioned by context and culturally situated knowledge. One may need a miraculous recovery of sight to grasp the meaning that facial expressions held in the past.

From one work to another, several visual references are layered upon one another. But just as important as what is being referenced is the question of how and why these references are made. Techniques such as sampling or remixing are used to transform Peles Duo's artworks into a network of entangled anticipations and reconstructions. Thus, the process of reproduction and remediation serves as a strategy for recognizing material objects as temporal unities and time itself as something material. The site-specific wallpaper exemplifies this well. It is constructed by means of continual remediation: surrealist photographs of ceramic pit fire (baptism by fire, so to speak) are assembled next to the eyes of Saint Ottilia, dancing around reproductions of Peles Duo's former installation, and so on. Collected elements are remixed and assembled, and then printed on sheets of paper. The wallpaper thus serves as an archaeological field of sedimented traces of elements' former existence. Moreover, the chain of continual reproduction sometimes culminates in situations where certain parts of the print no longer point to anything beyond their own materiality. A coherent yet phantasmagoric composition of layered, remediated images often hits the limits of matter's capacity to mediate, document, and hold memory.

According to an old theory, art arises from a deep human need to impose meaning on the world, a need that goes hand in hand with the effort to capture and preserve revealed truth for eternity. An exhibition by artistic duo Barbara Wolff and Katharina Stöver offers a different perspective on this theory. By means of reproduction and remediation, artists merge historical references and their own previous works. Through their surreal portrayal of past images, they demonstrate how ideas change direction as they travel across time and space. They show how images constantly shift in meaning from the very moment they encounter a different gaze, or are reproduced in a different context. After all, that is how images and ideas endure across historical contexts.

"Our heads are round so our thoughts can change direction." So as the image aiming at eternity, constantly changes direction of its significance.

Der Kopf ist rund, damit das Denken die Richtung wechseln kann installation view 2 — Installation view. Photo: Markus Tretter

Der Kopf ist rund, damit das Denken die Richtung wechseln kann installation view 3 — Installation view. Photo: Markus Tretter

Der Kopf ist rund, damit das Denken die Richtung wechseln kann installation view 4 — Installation view. Photo: Markus Tretter

Der Kopf ist rund, damit das Denken die Richtung wechseln kann installation view 5 — Installation view. Photo: Markus Tretter

Der Kopf ist rund, damit das Denken die Richtung wechseln kann installation view 6 — Installation view. Photo: Markus Tretter

Der Kopf ist rund, damit das Denken die Richtung wechseln kann installation view 7 — Installation view. Photo: Markus Tretter

Der Kopf ist rund, damit das Denken die Richtung wechseln kann installation view 8 — Installation view. Photo: Markus Tretter

Der Kopf ist rund, damit das Denken die Richtung wechseln kann installation view 9 — Installation view. Photo: Markus Tretter

Der Kopf ist rund, damit das Denken die Richtung wechseln kann installation view 10 — Installation view. Photo: Markus Tretter

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